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Band PML | New Selections for 2011 | Texas UIL


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Band PML | New Selections for 2011 | Texas UIL Prescribed Music List Additions for Concert Band. View the new band titles that have been added in 2011 to the Texas Prescribed Music List. Click on the Cover images to: Listen to Audio and/or View pdfs of Sample Scores (where available).

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Band PML | New Selections for 2011 | Texas UIL

  1. 1. Band PML<br />New Selections for 2011<br />Texas UIL Prescribed Music List Additions for Concert Band<br />Scroll through the slideshow to view the titles <br />that have recently been added to the Texas UIL Prescribed Music List for Band. <br />Click on the Cover images to:<br /><ul><li> Listen to Sample Audio*
  2. 2. View pdfs of the Scores*
  3. 3. Add to Your Pender's Shopping Cart/Wish List</li></ul>*where available<br />
  4. 4. Alpine MeadowSteve Hodges<br />This lyrical piece provides the young band with many opportunities for expressive playing. A simple, memorable melody sets the stage for interesting harmonic and textural treatments by all sections of the ensemble. This selection is a great teaching tool for phrasing, articulation and dynamics.<br />UIL Grade 1<br />
  5. 5. Autumn ColorsJohn O’Reilly<br />Autumn is always an exciting time of the year for children as they head back to school. Here is a piece that evokes the dramatic colors that dot the Adirondack Mountains in New York State. Summer<br />is over and autumn is the lovely season that precedes the harsh winter to come. Autumn Colors is set in a natural minor tonality and features flowing melodic lines from all the winds. This lyrical ballad portrays the warm feelings O’Reilly experiences when the leaves put on their yearly display of beautiful colors.<br />UIL Grade 1<br />
  6. 6. Azure HillsSteve Hodges<br />Azure Hills is a lyrical ballad that presents the band with many opportunities for expressive playing. The theme is lightly presented by the flutes, then followed by another statement in the trumpets with added textures in the accompaniment. The second statement features some interesting harmonies by the woodwinds before leading into a very expressive final presentation of the melody with an added woodwind countermelody. A stirring variation and development leads to a very effective and climactic ending where melodic motives are passed from section to section as the piece winds down to a quiet, reflective conclusion.<br />UIL Grade 1<br />
  7. 7. Big Sky Round-UpRobert Sheldon<br />Visions of the Old West come to mind as cowboys bring in the herd with this rollicking, rhythmic round-up inspired by the film music of Hollywood’s classic Westerns. Players and audiences alike will enjoy the musical personality and the tuneful character of the Big Sky Round-Up.<br />UIL Grade 1<br />
  8. 8. Corps of DiscoveryWilliam Owens<br />Rich harmonies and bold melodies are at the center of this exciting program piece based on the epic expedition of Lewis and Clark and their entourage known as the Corps of Discovery. After the Corps' enthusiastic departure, a lush slow section soon finds our heroes 'Westward Bound.' The music returns to its triumphant opening themes as they begin 'The Journey Home.' Strong and powerful with ample opportunities for cross-curricular study!<br />Corps of Discovery<br />UIL Grade 1<br />
  9. 9. Elizabethan DanceMark Williams<br />Experience the merry sounds of Olde England in this easy, but authentic sounding work in the Renaissance style. Written in a mixture of mixolydian and major tonalities, this piece is a great tool for exposing students to the soundsand traditions of an essential time in musical history. This is an excellent selection for working on dynamic control and playing with delicacy.<br />UIL Grade 1<br />
  10. 10. Enchanted IslandSteve Rouse<br />When you hear the music of Enchanted Island, it sounds like a place you might want to visit. Strange. Mysterious. Something is happening on Enchanted Island.<br />There are clues in the music: a slow procession, a soulful melody in the trumpets, the clamor of a ceremonial tam-tam, a sense of darkness, of respect, of an important moment.<br />On Enchanted Island, clouds cover the sky, a new light is born.<br />UIL Grade 1<br />
  11. 11. FortisGary Gazlay<br />From the composer of Champions comes another exciting selection. Featuring stately marcato themes and a melody that appears in all the parts, this stirring piece will engage all students.<br />UIL Grade 1<br />
  12. 12. Gymnopedie #1Erik Satie/arr. Jack Bullock<br />The Gymnopedies, originally written for piano, are French composer Erik Satie's most famous works. In traditional Satie style, Gymnopedie No. 1 is characterized with a joyously simple melody in 3/4 time with a rich harmonic structure that is not technically demanding. A new classic arrangement at the beginning level! (2:39).<br />UIL Grade 1<br />
  13. 13. Iroquois SunriseGregory B. Rudgers<br />This unique young band composition paints a musical portrait of a day in the Adirondack Mountains coming alive as the sun burns through a misty morning. The composer here uses a pentatonic scale and layered melodies to create an inspired and soulful composition, clearly demonstrating that great music does not have to be difficult! (2:43).<br />UIL Grade 1<br />
  14. 14. Kingstree OvertureAnne McGinty<br />This is the overture you've been waiting for! Anne McGinty again displays her distinctive and colorful style in this appealing and tuneful addition to the repertoire. With an opportunity to develop attacks and releases, characteristic tone quality and phrasing, your band will sound very musical and very mature. A definite audience pleaser!<br />UIL Grade 1<br />
  15. 15. Lux Prima (Come My Soul Thou Must Be Awakening)Franz Joseph Haydn/arr. Ralph Ford<br />Franz Joseph Haydn's lovely musical setting of Come My Soul. Thou Must Be Awakening, scored for beginners in 3/4 time. The flowing melody is tuneful and will add to the musicality of your ensemble. First stated by the upper woodwinds, the full band builds to an emotional conclusion. Breathtaking!<br />UIL Grade 1<br />
  16. 16. MajesticaGary Gazlay<br />The title of Majestica is taken from the word "majestic" which means "having or displaying great dignity or nobility" and was inspired by Psalm 8:9.<br />UIL Grade 1<br />
  17. 17. MythosChris M. Bernotas<br />Mythos is the Greek word for 'story' or 'legend,' Mr. Bernotas captures all the elements of Greek mythology in this exciting piece: the hero, the peril, the adventure, and the conquest. This overture in d minor, for the young band, has a lot going for it: appealing melodies, plenty of contrasts, and great percussion!<br />Mythos<br />UIL Grade 1<br />
  18. 18. Royal GardensMichael Vertoske<br />Composed in sonata allegro from, Royal Gardens has a "classical" feel, making it perfect for concert or contest. The composer here has used a variety of contrasting textures that includes the use of many "color" percussion instruments. Your students will feel that they have advanced from beginners to "real" musicians playing this distinguished composition!<br />UIL Grade 1<br />
  19. 19. Spacious Firmament on HighFranz Joseph Haydn/arr. Chris Sharp<br />(adapted from The Creation)<br />This thoughtful adaptation from Haydn's Creation is a wonderful way to incorporate classical music on your next program while working on balance between woodwinds, brass and percussion. It can also function as a lyrical work on your program without the demands of long sustained phrases. Easy to put together, yet still authentic to the original. (2:00).<br />Spacious Firmament<br />on High<br />UIL Grade 1<br />
  20. 20. Summit FanfareWilliam Owens<br />This impressive fanfare will make your band sound extraordinary. Beginning with a bold melodic statement supported by rich harmonies and stately percussion, the music progresses through various moods ranging from gentle to triumphant. A rhythmic dance section in the middle of the work provides excellent contrast before the bold opening themes return to bring the work to a dramatic conclusion. Fabulous writing for young musicians! (1:45).<br />Summit Fanfare<br />UIL Grade 1<br />
  21. 21. Adrenaline EnginesRandall Standridge<br />Coupling exciting rhythmic motifs with sophisticated harmonies, the composer has crafted another sure-fire winner reminiscent of his hit Afterburn. Thundering percussion, driving rhythms, memorable melodies, and frenetic energy are unrelenting in this rip-roaring sonic adventure!<br />UIL Grade 2<br />
  22. 22. As Twilight FallsRobert Sheldon<br />The sense of peace and tranquility of twilight on a summer’s evening inspires this lovely lyrical offering. An excellent teaching opportunity for phrasing and expression, As Twilight Falls provides a moment of contrast on any young band’s concert performance.<br />UIL Grade 2<br />
  23. 23. Balfour CastleDavid Bobrowitz<br />Brilliant antiphonal fanfares announce this musical picture of an old Scottish castle by the North Sea - followed by many "dialogues" between very unique choirs of winds and percussion. An extraordinary masterwork for young, advancing bands.<br />Balfour Castle<br />UIL Grade 2<br />
  24. 24. Basque LullabyDan Forrest<br />After a beautiful melody is introduced by the woodwinds in the opening measures, the brasses and percussion gradually join the texture to create a lush score that will give young bands the opportunity for very expressive playing.<br />UIL Grade 2<br />
  25. 25. Black Is the Color of My True Love’s Hairarr. Robert Sheldon<br />This traditional folk song was first known in the Appalachian Mountains region of the United States in 1915, but most probably originated in Scotland. It is about a girl who is waiting for her lover to return from the sea. This stunning setting is a significant contribution to the young band repertoire.<br />UIL Grade 2<br />
  26. 26. Broken BowCarl Strommen<br />With the energy of an old-fashioned "hoe-down," Broken Bow is dedicated to those who fought to settle and develop the lands west of the Mississippi. The driving bold theme is interrupted with a charming chorale-like section but builds to a drammatic conclusion. Superb program music for concert and contest!<br />UIL Grade 2<br />
  27. 27. Bucimisarr. Bob Lipton<br />This traditional Bulgarian line dance in 15 (written as a bar of 4/4 followed by a bar of 7/8) will happily introduce both your band and audience to the rich musical traditions of Eastern Europe. This arrangement closely reflects the original, as it builds to a frenzy of joy. Your students will have fun and be culturally enriched while expanding their musical horizons.<br />UIL Grade 2<br />
  28. 28. Colliding VisionsBruce Balmages<br />Lyrical melodies meet powerful fanfares in this emotionally charged work that tells the true story of a world premiere and a band program’s final performance. Sweeping harmonies push the threshold of the typical young band sound before the music charges forward in spirit and excitement. A final section slowly moves toward silence, leaving the audience in wonderment as to what will lie in the future. Mature sounds for young bands!<br />Colliding Visions<br />UIL Grade 2<br />
  29. 29. CommunionCarol Strommen<br />Building on the ‘coming together’ of friends and musicians in band, Communion presents a variety of musical emotions. The thematic material is initially introduced in a chorale-style which serves as the warm-up to the vitality and enthusiasm found in the band community. The composition draws to a climatic conclusion with the bold brass melody embellished with woodwind flourishes. A sure winner!<br />UIL Grade 2<br />
  30. 30. Die Meistersinger (Themes)Richard Wagner/arr. Larry Daehn<br />All the sweep and grandeur of Wagner’s music encapsulated in a symphonic miniature for young band. Two of his noblest themes are joined in a concert piece that will inspire, yet not fatigue young players. High quality educational music!<br />Die Meistersinger (Themes)<br />UIL Grade 2<br />
  31. 31. Fields of CloverRandall Standridge<br />In a gorgeous debut published work, this Arkansas composer creates a lush musical soundscape using fairly simple materials. Starting with a four-bar clarinet solo, moving to an effective clarinet choir section, and culminating in several larger sections using some unique scoring ideas, the simple beauty of folk-like melodies is presented in a simply irresistible piece for band.<br />UIL Grade 2<br />
  32. 32. Homeward BoundMarta Keen/arr. Brant Karrick<br />Homeward Bound is one of the most popular and widely performed contemporary choral pieces of all time. This heartfelt piece is elegant in its simplicity and has touched thousands of musicians and their audiences with its warmth and sincerity. Additionally, it has become the anthem for many soldiers returning home from foreign wars. This exquisite setting for concert band is meant to stand alone as a concert piece, or it can be played along with the original Jay Althouse choral arrangement (3394000) to create a stirring moment for combined band and choir in concert.<br />UIL Grade 2<br />
  33. 33. In a Quiet PlaceBill Calhoun<br />A heartfelt new ballad, In a Quiet Place is the perfect vehicle to teach expressive, emotional playing. This simply beautiful piece is one you don’t want to miss.<br />UIL Grade 2<br />
  34. 34. Irish Air & Dancearr. Michael Story<br />Combining contrasting Irish tunes, The Minstrel Boy and The Girl I Left Behind Me, this young band work will be warmly received on any program. Opening with a beautifully lyric, legato presentation of the Air, the work progresses with the energetic Dance. It explores a variety of textures, concluding with a bold tutti statement.<br />UIL Grade 2<br />
  35. 35. With tempo markings like “Allegro con passion” and “Prestissimo con fuego,” this work includes all the passion and fire needed to grab the audience at your next concert. La Madre de los Gatos derives its title from a nickname given to Mrs. Verda Shine (Mama Kitty) by her colleagues and fellow band directors at Byrd Middle School, Duncanville, Texas. Along with her fondness for cats, Mrs. Shine earned her nickname for her commitment to the nurturing and support of program staff and students. The piece was written to celebrate her zeal and dedicated service as a Duncanville band director and was premiered at the 2009 Byrd Middle School Spring concert, with Mrs. Shine as featured clarinetist.<br />La Madre de los GatosBrian Beck<br />UIL Grade 2<br />
  36. 36. Let All Mortal Flesh Keep Silencearr. Anne McGinty<br />Based on a 17th century French melody, this hymn setting is a delightful study in contrasts – brass and woodwind choirs, dramatic dynamic changes plus major and minor keys. A very musical addition to your next concert by this top-notch writer!<br />UIL Grade 2<br />
  37. 37. Nearly all sections of the band get to perform the singing melody in this heartfelt waltz for concert band. Beautiful in its simplicity, this is one of the most gorgeous tunes yet from the pen of a young writer much noted for the lyricism of his melodies. A unison, unaccompanied clarinet melody unfolds through a series of key changes, to an expansive moment of tutti high drama that is breathtaking in its beauty. Finally, in going to sleep, a melancholy statement from the percussion and a whispered “shhh” from the wind players ends the piece.<br />LullabyeRandall Standridge<br />UIL Grade 2<br />
  38. 38. Lyric EssayTom O’Connor<br />Lyric Essay gives the young band an opportunity to play a beautiful melody within a contemporary harmonic framework. In traditional AABA song form, it utilizes a variety of instrumental colors without the demands of individual solo lines. The melody ascends, then gradually gets louder; as it descends, gradually diminuendo. The tone color of the ensemble is focused toward the<br />middle and low instruments.<br />Lyric Essay<br />UIL Grade 2<br />
  39. 39. Rowan Treearr. Randall D. Standridge<br />The simple, compelling beauty of an old Scottish folk song is captured in this exquisite arrangement for the modern wind band. Low register clarinets and horns predominate in a setting both compelling and melancholy. A perfect lyrical ballad for concert or festival use.<br />UIL Grade 2<br />
  40. 40. Shepherd’s Heyarr. Patrick Roszell<br />This very familiar traditional British folk song scored for your beginners begins with a simple melodic statement. The arrangement builds in intensity and tempo through the final musical punctuation. Subtle intricacies are clearly demonstrated with the addition of characteristic counter melodic material. A solid choice, your beginning band will sound polished and professional!<br />UIL Grade 2<br />
  41. 41. Spirit of an EagleLarry Clark<br />This piece is meant to depict the majestic beauty and soaring flight of the eagle. Wrought in standard overture form, the main theme is brisk and angular, while the slower lyrical melody is stately and flowing. It will show off the developing musicianship of each young band member.<br />UIL Grade 2<br />
  42. 42. SundanceCarl Strommen<br />Hear the sounds of the mountains in this dynamic new concert work for young bands. Carl Strommen is right at home, considering his other very successful works in this vein, but Sundance marks the first time he has written something for Grade 2 groups in this style. Serious festival performance potential.<br />UIL Grade 2<br />
  43. 43. Two Renaissance SketchesTodd Stalter<br />Though entirely original, the melodies of Two Renaissance Sketches come alive with their modal harmonies and tasteful, dance-like percussion accompaniments which are typical of the period. A stately courtly dance and a lively jig give almost everyone in the band a chance to play the melody, and can be an excellent introduction to the sounds and style of Renaissance music.<br />UIL Grade 2<br />
  44. 44. My Lord, What a Mornin’ is one of many anonymous spirituals sung in the fields and in worship by African-American slaves in the nineteenth century. In this setting, sonorities of the band instruments are utilized which express a longing for the end of time, when there would be no sorrow, no pain. The last line of the refrain serves as the title for this setting. At measure 9 the trumpet figure evokes the text “you’ll hear the trumpet sound.” Whenever this figure appears, a controlled marcato will provide contrast to the sostenuto style that prevails in the piece. Conductors have some liberty at measure 37, choosing the solo or soli that best suits the ensemble. In the last two measures, be careful that the accompaniment does not cover the melodic bass line or the timpani solo that ends the piece.<br />When the Stars Began to FallFred J. Allen<br />UIL Grade 2<br />
  45. 45. Adagio Cantabile(from Sonata Pathetique)Ludwig Beethoven/arr. Larry Daehn<br />Written in 1798, when Beethoven was 28 years old, his Sonata #8, Op.13 became the most famous of all of his 32 sonatas. The Adagio Cantabile is one of the most beautiful pieces he ever wrote. Introduce your band to Beethoven’s great music.<br />Adagio Cantabile<br />(frSonata Pathetique)<br />UIL Grade 3<br />
  46. 46. AislingGaelach(Irish Fantasy)William G. Harbinson<br />A symphonic setting of two Irish folk songs, woven together into a tapestry of sounds. This piece has contest/festival potential written all over it!<br />UIL Grade 3<br />
  47. 47. Be Thou My VisionLarry Clark<br />The popular Irish Hymn tune, Slane(best known by the familiar first line of its standard text, Be Thou My Vision) is a great favorite of composer Larry Clark’s. It is the basis for this grand set of variations. From the bardic fanfare of the opening, through a piccolo solo that suggests Gaelic piping and several variations on the lovely tune, this is a beautifully scored piece, rich in the flavor of the Emerald Isle.<br />UIL Grade 3<br />
  48. 48. BenedictionJohn Stevens<br />Originally scored for brass choir, this marvelous version for full band features flowing melodies and counter-lines in a rich chorale-like setting. The solo part at the beginning and end is scored for euphonium, but is cued for clarinet, trumpet or trombone. Great for teaching a lyric style of playing, and also as an effective performance piece.<br />UIL Grade 3<br />
  49. 49. Brook Green SuiteGustav Holst/arr. James Curnow<br />This is sure to be one of those orchestral transcriptions that finds a permanent place in the realm of concert band literature. Holst’s ability to develop and explore folk melodies with rich, lyrical<br />treatment is fully realized in this sterling example from the final phase of this remarkable composer’s career. The smooth and peaceful declivities of the Prelude; the expressive Cantabile of the Air; and the sprightly 6/8 Dance all combine to give your audience and your<br />band a truly enriching experience.<br />UIL Grade 3<br />
  50. 50. Celtic Song & CelebrationDavid Gorham<br />Definitely written with a Celtic flair, this wonderful original work provides all the elements a band is looking for in a performance piece. The beautifully flowing opening lines feature melodic elements that enhance and display the ensemble’s musicality. The second half provides the exuberance and zeal inherent in Celtic music, complete with authentic drumming that fuels the drive to the exhilarating finale!<br />UIL Grade 3<br />
  51. 51. Ceremonial DancesAnonymous/arr. Greg Danner<br />This setting of four English renaissance dances is in the great band tradition of Holst, Jacob, and Vaughn Williams. The four movements feature music in a variety of tempi and styles. A final coda at the end of the shanty brings back the glorious Pavane melody in strong brass chords for a dramatic ending. With strong<br />melodies and bold harmonic writing, Ceremonial Dances offers students and directors a new work in the British band tradition.<br />UIL Grade 3<br />
  52. 52. Children’s Folksong SuiteKevin Walczyk<br />Not available through retailers. Contact Keveli Music directly for information.<br />UIL Grade 3<br />
  53. 53. Concerto for Prince JohannJ.S. Bach/arr. Larry Daehn<br />Prince Johann Ernst of Weimar composed about twenty instrumental works, was a friend of Bach and Telemann, and died at the very young age of nineteen. He is remembered today because Bach arranged six of his concertos for organ. This transcription for band shows the youthful exuberance of the Prince and the creativity of his young friend, J.S. Bach.<br />Concerto for<br />Prince Johann<br />UIL Grade 3<br />
  54. 54. English Suite for BandMichael Golemo<br />I. Buckingham Palace • II. St. Paul’s Cathedral • III. Piccadilly<br />A charming collection of contrasts: royal pageantry, wistful tranquility and raucous fun! Your band and audience will love this<br />jolly trip to London!<br />English Suite<br />For Band<br />UIL Grade 3<br />
  55. 55. Fantasy on an Early AmericanMarching TuneRobert Sheldon<br />Fantasy on an Early American Marching Tune is based on the popular fife and drum melody, The Girl I Left Behind Me. All melodies and countermelodies in the piece are drawn from this well-known theme, as they are altered and re-worked to create new melodic material. An excellent piece for festival or contest use, and a delightful addition to any concert program!<br />UIL Grade 3<br />
  56. 56. Fantasy on English FolksongsGene Milford<br />Based on tunes from Cecil Sharp’s One Hundred English Folksongs, this magnificent work is reminiscent of Vaughan Williams’ English Folksong Suite.<br />Fantasy on <br />English Folksongs<br />UIL Grade 3<br />
  57. 57. FoundryJohn Mackey<br />Foundry calls for 12 percussionists, playing everything from traditional instruments like tom-toms and bass drum to “found” instruments like “4 piles of metal,” a “clang,” and “4 wooden objects.” For a more detailed discussion of the composer’s motivation and to view photographs of examples of “found” instruments, visit the composer’s blog at http://<br />UIL Grade 3<br />
  58. 58. From This Valley(Fantasy on Red River)Gregory B. Rudgers<br />A fantasy on the folk song Red River Valley, composer Gregory Rudgers’ stunning new composition ranges from dramatic to lush and lyrical, and even drifts into the category of “whimsical.” He employs all of the forces of the modern concert band to their fullest in this symphonic presentation. Ideal for a contest or festival.<br />UIL Grade 3<br />
  59. 59. Grainger ThreesomePercy A. Grainger/arr. Chalon L. Ragsdale<br />Grainger Threesome was called by The Instrumentalist “ abalanced set of lyric and lively works.” The arrangement includes Grainger settings of Children’s March, Will Ye Gang ta the Hielands, LeezieLindsay?, and As Sally Sat A-Weeping.<br />UIL Grade 3<br />
  60. 60. Written with the lilt and flavor of the Scottish highlands, this original Alan Lee Silva piece is a joyous new addition to the concert band repertoire. The pulsing 6/8 rhythms are contrasted by momentary feelings of 3/4, as the melody floats over punctuated harmonies. This piece contains contrast, with a slower middle section featuring a divine flute melody, accompanied by the sound of “bagpipe” drones in the other voices. This grand Scottish-style melody develops to a climax before the wistful return of the main theme, and an up tempo coda completes the piece.<br />Highland CelebrationAlan Lee Silva<br />UIL Grade 3<br />
  61. 61. In The ChurchHenri Constant Gabriel Pierne/arr. Monty Musgrave<br />Beautiful wind instrument colors abound in this stately masterpiece. Written for piano in 1883, A L’ Eglise (In the Church) has been lovingly arranged for wind band by Monty Musgrave.<br />In the Church<br />UIL Grade 3<br />
  62. 62. Kindred SpiritsBrian Balmages<br />The ultimate in expressiveness, this lyrical work was born out of the tragedy of an entire family who was lost. Specifically designed to be quite approachable technically, this work focuses on everything that is musical, allowing you and your students to realize the full emotional potential of the work. Moments of intense sadness collide with powerful statements of resolve and hope as the piece explores a dazzling array of emotions. Simply stunning!<br />UIL Grade 3<br />
  63. 63. La Bonne AventurePierre LaPlante<br />A bright little French children’s song goes through seven delightful variations and ends with a rousing can-can! Band music that could only be written by Pierre La Plante.<br />La Bonne Aventure<br />UIL Grade 3<br />
  64. 64. Last Rose of SummerLeroy Anderson/arr. Douglas Wagner<br />The fifth movement of Leroy Anderson’s The Irish Suite: The Last Rose of Summer, has never been transcribed for concert band. Skillfully scored by Douglas Wagner in Anderson’s charismatic characteristic style, this work features an emotional alto saxophone solo in place of the orchestra version’s violin solo. The dramatic work is performable as a stand-alone work or in tandem with the rest of the movements.<br />UIL Grade 3<br />
  65. 65. Maiden VoyageShirley Mier<br />Stirring melodies and triple meter rhythms here dramatically capture an ocean voyage in music. In this debut published composition, Mier takes the listener on an inspired musical journey, culminating in a triumphant return home. Maiden Voyage was a finalist in the first Frank Tichelli Composition contest in 2006.<br />UIL Grade 3<br />
  66. 66. Minstrel BoyLeroy Anderson<br />The second movement of The Irish Suite from the creative genius of the legendary Leroy Anderson has been re-engraved now with a full score. This more stately movement contrasts stylistically with the others.<br />UIL Grade 3<br />
  67. 67. Mountain DanceEd Kiefer<br />Mountain Dance contains three Appalachian folk songs: Cluck, Old Hen, Sourwood Mountain and Poor Polly. It was written to depict the Appalachian region of the country and its heritage of bluegrass music and fine musicianship. You will hear hints of Irish music, as many of the folk songs from this area were developed by the Irish immigrants who settled this part of the country. All of these images are evoked in a truly symphonic setting by composerEd Keifer.<br />UIL Grade 3<br />
  68. 68. Music for the King’s Delightarr. Pierre La Plante<br />Music to delight the king, the commoner and everyone else! A delightful suite of Mr. Purcell’s Riggadoon, Over the Hills and Far Away and Lazy Pirate’s Jig. Lots of courtly pageantry, simple beauty, and fambunctiousfun!<br />Music for the<br />King’s Delight<br />UIL Grade 3<br />
  69. 69. O NataLuxGuy Forbes/arr. Preston Hazzard<br />The opening section of this beautiful lyric piece is meant to depict light breaking upon a darkened world. Filled with vibrant instrumental colors and textures, this piece expands to a climax followed by a serene closing passage. Originally conceived as a choral work by Guy Forbes, this has been skillfully transcribed forwinds by Hazzard.<br />UIL Grade 3<br />
  70. 70. O Whistle and I’ll Come to YeLarry Daehn<br />A jaunty little Scottish tune travels through several artful variations to be joined with Auld Lang Syne(there’s an optional vocal part) for the finale. Commissioned for the retirement concert for John Thomson, New Trier, IL. Fine for concert and festival, or for a dedication or farewell ceremony.<br />O Whistle and<br />I’ll Come to Ye<br />UIL Grade 3<br />
  71. 71. Old Red MillBrant Karrick<br />The Old Red Mill may be Brant Karrick’s best work to date. It opens with a lush and beautiful lyrical section before moving into a very creative, lilting up-tempo section. The piece has a down-home feel, but is a wonderful addition to the literature. It is surely destined to become a standard.<br />UIL Grade 3<br />
  72. 72. A Quiet MusicDouglas Wagner<br />This flowing work commences with dignity and charm. The teaching possibilities, such as legato, control and dynamic shadings, are limitless. As rewarding to play as it is to hear, A Quiet Music will present programming opportunities year after year. Enjoy the seamless flow of the pensive melody and harmony in the fabric of this cherished work!<br />UIL Grade 3<br />
  73. 73. ReflectionsDarren Jenkins<br />Seldom do works at this grade level achieve such levels of expression and lyricism. As suggested by the title, this moving work expresses a reflective look at wonderful and positive memories and recreates the feelings that accompany those times. Lyrical and expressive, it creates a peaceful atmosphere of warmth that won’t soon be forgotten.<br />UIL Grade 3<br />
  74. 74. Scotland! A Heritage in Songarr. Jack Bullock<br />When one thinks of music from Scotland, thoughts of bagpipes, highland dancing, Celtic singers, and folk songs come to mind. Music has always been an important part of everyday life in Scotland. This arrangement of Scottish songs for concert band includes many favorites that have become standard fare from the country, including Annie Laurie, Loch Lomond, Scotland the Brave and others. The Scottish song style is unique, wonderful to experience, and is presented here as a tribute to this beautiful and exciting country.<br />UIL Grade 3<br />
  75. 75. Slavonic Dance #8Antonin Dvorak/arr. Andrew Balent<br />The famous Dvorak piece, set for modern concert band by arranger Andrew Balent. What a great opportunity for bands to perform a fantastic classical piece that adapts so well!<br />UIL Grade 3<br />
  76. 76. Sun Just Touched the MorningPatrick Burns<br />Like the warmth of early morning rays illuminating a landscape, this gorgeous work projects musical warmth and richness throughout this well-conceived musical palette. Luscious harmonies and masterful scoring will fully engage players and listeners as the work unfolds to reveal a truly remarkable tonal scenario.<br />UIL Grade 3<br />
  77. 77. ToccataPatrick Burns<br />An exciting showpiece for band! Great opener or closer for your next concert. Grand proclamations from many sections in thisgreatnew work!<br />Toccata<br />UIL Grade 3<br />
  78. 78. Walk In the Morning SunPierre LaPlante<br />“An early morning walk is a blessing for the whole day” wrote Thoreau, and Inmon said “Angels whisper to a man when he goes for a walk.” Pierre La Plante paints a delightful picture of a morning walk in his newest young band piece – his “tip of the hat” to tunesmith Leroy Anderson.<br />Walk in the<br />Morning Sun<br />UIL Grade 3<br />
  79. 79. Water Is Widearr. Rick Kirby<br />Stunningly gorgeous setting of this 18th century Irish tune, O Waly, Waly. Includes a 9-measure optional vocal part.<br />Water Is Wide<br />UIL Grade 3<br />
  80. 80. Wearing of the GreenLeroy Anderson/arr. Douglas Wagner<br />The fourth movement of Leroy Anderson’s Irish Suite was drawn from familiar Irish folk tunes when created in 1947. The Wearing of the Green has been skillfully transcribed for band by Douglas Wagner in Anderson’s charismatic characteristic style.<br />UIL Grade 3<br />
  81. 81. Whispering TreeGeorge Farmer<br />A tree is planted outside a classroom in memory of a band member. The children place wind chimes in the branches so that they can remember him when breezes cause the tree to “whisper” to them. Another beautiful work by this gifted composer.<br />Whispering Tree<br />UIL Grade 3<br />
  82. 82. Winter on Emerald BayAlan Lee Silva<br />Bold music in the Celtic style from composer Alan Lee Silva, Winter on Emerald Bay has a rollicking 12/8 feel with lots of shifting textures and timbres. Emotions go from aggressive fanfare-like figures to flowing woodwind lines, punctuated by unique percussion scoring. This definitely has contest/festival potential.<br />UIL Grade 3<br />
  83. 83. Brook Green SuiteGustav Holst/arr. James Curnow<br />This is sure to be one of those orchestral transcriptions that finds a permanent place in the realm of concert band literature. Holst’s ability to develop and explore folk melodies with rich, lyrical treatment is fully realized in this sterling example from the final phase of this remarkable composer’s career. The smooth and peaceful declivities of the Prelude; the expressive Cantabile of the Air; and the sprightly 6/8 Dance all combine to give your audience and your band a truly enriching experience.<br />UIL Grade 4<br />
  84. 84. Ceremonial DancesAnonymous/arr.Greg Danner<br />This setting of four English renaissance dances is in the great band tradition of Holst, Jacob, and Vaughn Williams. The four movements feature music in a variety of tempi and styles. A final coda at the end of the shanty brings back the glorious Pavanemelody in strong brass chords for a dramatic ending.Withstrong melodies and bold harmonic writing, Ceremonial Dances offers students and directors a new work in the British band tradition.<br />UIL Grade 4<br />
  85. 85. Children’s Folksong SuiteKevinWalczyk<br />Not available through retailers. Contact Keveli Music directly for information.<br />UIL Grade 4<br />
  86. 86. Con Sabor EspanolLewis J. Buckley<br />Con SaborEspanol (With a Spanish Flavor) is in a traditional sounding Spanish style, but with a significant amount of mixed meter that adds freshness. The melodies lead where the ear expects them to go, but often with an extra eighth note or two. The form is fast-slow-fast, with the slow section featuring a beautiful tango, with an eighth note missing from the traditional bass pattern. A piece that will challenge conductor and performer alike, this will be an audience favorite, suitable for opening or closing either half of a concert.<br />Con SaborEspanol<br />UIL Grade 4<br />
  87. 87. DuskSteven Bryant<br />This simple, chorale-like work captures the reflective calm of dusk, paradoxically illuminated by the fiery hues of sunset. The dual nature of this experience is impressive, as if witnessing an event of epic proportions silently occurring in slow motion. Dusk is intended as a short, passionate evocation of this moment of dramaticstillness.<br />Dusk<br />UIL Grade 4<br />
  88. 88. Girl I LeftBehind MeLeroy Anderson<br />From The Irish Suite. Re-released with a new full score and parts, this is the last movement of Anderson’s Irish Suite drawn from familiar Irish folk tunes. The Girl I Left Behind Me is a driving energetic conclusion to Anderson’s suite or any concert program as a stand-alone work.<br />UIL Grade 4<br />
  89. 89. GlaciersScott Director<br />Five musical vignettes demonstrating this wonder of nature are joined to create a refreshing new work. Opening with sounds that conjure the image of formations, Glaciers builds to grandiose proportions. As the work develops, listeners are drawn to the destruction of the massive ice structure as it crashes to the sea below and concludes with vivid musical imagery signaling the battle for the glacier’s survival and the beginning of the cycle once again. A stunning addition to the concert band repertoire!<br />UIL Grade 4<br />
  90. 90. Glenbury GroveJulie Giroux<br />Glenbury Grove was composed for Takayoshi “Tad” Suzuki and the Tad Wind Symphony and premiered January 15, 2010 at the HokutopiaSkura Hall in Tokyo, Japan. The title refers to what the composer describes as both a fictional and non-fictional place by a stream, deep in the woods behind her home. This programmatic work depicts mystical happenings and ends with an encounter with a beloved friend who is now gone from this world.<br />UIL Grade 4<br />
  91. 91. The blue hour is an oft-poeticized moment of the day – a lingering twilight that halos the sky after sundown but before complete darkness sets in. It is a time of day known for its romantic, spiritual, and ethereal connotations, and this magical moment has frequently inspired artists to attempt to capture its remarkable essence. This is the same essence that inhabits the sonic world of Mackey’s Hymn to a Blue Hour. Note: The score included in the purchased sets are 9” x 12.” If you wish to purchase a full set with the addition of an 11” x 17” score, the 11” x 17” score must be purchased as a separate item (22852002). To purchase additional9” x 12” scores, see Item #22852001.<br />Hymn to a Blue HourJohn Mackey<br />UIL Grade 4<br />
  92. 92. In MemoriamMark Camphouse<br />In Memoriam was commissioned by The Revelli Foundation in January 2002 following the death of Mr. L.J. Hancock, Director of Bands at Norwin High School, North Huntingdon, Pennsylvania (1976 - 2001). When Camphouse learned that Hancock had a tradition of warming up his high school band on the field to Salvation is Created by the Russian composer PavelChesnokov(1877 - 1944), he decided to use the Communion hymn as the central theme to this work.<br />UIL Grade 4<br />
  93. 93. Infinite Horizons was commissioned by the Alpha Omicron chapter of Kappa Kappa Psi at Texas Tech University and was first performed by the University Symphonic Band at the Texas Music Educators Association Convention in 1991. It is dedicated to Dean Killion, Director of Bands Emeritus, who served as director of bands at Texas Tech from 1959-1980. The title of the work is based on the composer’s boyhood recollections of the topgraphyof West Texas and the area surrounding Lubbock. Comprised of two main sections, the work is cast in the form of a classical overture.<br />Infinite HorizonsJohn Cheetham<br />Infinite Horizons<br />UIL Grade 4<br />
  94. 94. Irish WasherwomanLeroy Anderson<br />The Irish Washerwoman, dedicated to Arthur Fiedler, who premiered the work, is the first movement of Leroy Anderson’s six-movement Irish Suite. This exuberant movement will feature your nimble-fingered woodwinds with a traditional Irish flair. Just re-released, the work was scored for concert band by the composer himself and has been re-engraved with a full score and fresh parts, ensuring this work will be available for generations to come!<br />UIL Grade 4<br />
  95. 95. Net Luck SoaringJoni Greene<br />This work celebrates the life of Net Luck, a clarinet and percussion player, whose love of life sent him soaring through the sky like a carefree bird, dipping and diving with exhilaration, bringing happiness to all those around him. It was commissioned by Laura Cross and the band parents of Leander High School (TX), and was a gift to the band honoring the man and his family. It strives to capture the journey of life, both calm and perilous, among the friends and family who love us most.<br />UIL Grade 4<br />
  96. 96. Polka from The Bartered BrideGary E. Parks<br />Whirling, brightly-clad dancers, brought to life in Smetana’s Polka fromThe Bartered Bride, are reanimated in this exhilarating transcription for concert band. The joyful celebration of Bohemian peasant life is evidenced from the development of the principle theme to the dramatic presto at the end. You’ll find it hard to stay in your seat!<br />UIL Grade 4<br />
  97. 97. Rakes of MallowLeroy Anderson<br />Re-released this year, this Leroy Anderson classic work typifies his musical genius. Freshly engraved with a full score for the first time, Anderson’s own arrangement of the third movement from his Irish Suite is full of excitement and energy.<br />UIL Grade 4<br />
  98. 98. San Antonio DancesFrank Ticheli<br />This piece, composed as a tribute to the south Texas city, certainly captures its essence. The first movement, depicting the serene Alamo Gardens, is sultry and peaceful, crescendoing with a hint of mariachi sound that then blossoms in the whimsical second movement, Tex-Mex on the Riverwalk.<br />UIL Grade 4<br />
  99. 99. Scenes FromTerezinJack Stamp<br />The Terezin Concentration Camp was the home for over 150,000 Jews during the Holocaust. The poetry created by the children living there inspired Jack Stamp to compose these Scenes from Terezin. The four movements of this poignant work are bound together by a recurring motive. For the most part, the music is not happy or uplifting, but meant to portray a dark time in world history, and remind us to pause and be thankful for our freedom.<br />UIL Grade 4<br />
  100. 100. Shenandoaharr. Randol Alan Bass<br />This breathtaking arrangement of Shenandoah was created at the request of well-known “Pops” conductor Michael Krajewskiand was premiered in late summer, 2004, by the Houston Symphony Orchestra. This new setting for band makes a stunning addition to any concert program. Numerous soloists are featured in the sweeping, lyric setting of the famous folksong melody with a panoramic, “Americana” feel. This would make a worthy addition to any Pops program and can be played effectively in an outdoor setting.<br />UIL Grade 4<br />
  101. 101. Siciliennefrom Pelleas et MelisandeGabriel Faure/arr. Larry Clark<br />One of the most beautiful and popular pieces by Gabriel Faure is meticulously arranged for the modern concert band by Larry Clark. It contains all of the lush harmonies and subtle features of Faure’s music in a wonderful concert band setting.<br />UIL Grade 4<br />
  102. 102. Simple Song (from Mass)Leonard Bernstein/arr. Michael Sweeney<br />From Leonard Bernstein’s masterwork Mass, this tuneful ballad has become its best-known and most often recorded song. Here is a beautifully poignant setting for band, authentically transcribed by Michael Sweeney, which features a trumpet soloist (or flugelhorn) as well as short solo spots for baritone or trombone.<br />UIL Grade 4<br />
  103. 103. This three-movement work is based on various Scottish dance forms and includes a combination of authentic and original music. The opening Reel begins with a light-hearted presentation of the melody in typical Scottish fashion. As the movement develops, rhythms and harmonies become more intense and driving before a burst of percussion brings it to a sudden close. The second movement, Air, uses solo alto saxophone in a lush and lyrical setting of Well May I Behold My Faithful Brown-Hair’d Maid. The theme, presented in two contrasting settings, becomes extremely powerful with soaring countermelodies before returning to the tranquility of the opening. The final movement, Jig, makes use of expansive percussion as it celebrates one of the most well-known Celtic dance forms. Themes and various sounds are layered throughout as the work builds to a furious conclusionsupported by an enormous battery of percussion. Thrilling!<br />Three Celtic DancesBrian Balmages<br />Three Celtic Dances<br />UIL Grade 4<br />
  104. 104. Three RavensPercy A.Grainger/arr.Chalon L. Ragsdale<br />The Three Ravens is Nr. 41 of the British Folk-Music Settings. It is “lovingly and reverently dedicated to the memory of EdvardGrieg,” as are all the British Folk-Music Settings. The piece was originally scored for Baritone Solo and Mixed Chorus accompanied by 5 Bb Clarinets. The folksong The Three Ravens was not collected by Grainger. Like Irish Tune from County Derry, he found the tune in an existing collection. The harmonization, finished in 1902, captures beautifully the transcendental nature of the text, with masterful use of chromaticism and the Grainger“gliding tones.”<br />Three Ravens<br />UIL Grade 4<br />
  105. 105. Wayfarer’sJourneyDouglas Akey<br />Using The Wayfaring Stranger as a basis for a freewheeling set of theme and variations, composer Akey has created a remarkably colorful musical tableaux. The work opens mysteriously with a recorder solo (cued in clarinet), and progresses through a widely varied musical scenario with many creative rhythmic and scoring touches. A most memorable work for your students and audience!<br />UIL Grade 4<br />
  106. 106. Were You There is an example of African-American spiritual songs from the 19th century. The melody possesses a wide range of an octave and a fourth, and is pentatonic except for one note in the final phrase. The text of the song, through several verses, asks the listener to witness the events surrounding the death, burial, and resurrection of Jesus Christ. This setting was commissioned, and by way of dedication, a family surname is captured rhythmically throughout the piece, often resulting in syncopation. The piece is contemplative in nature, reflecting the questioning text. Stylistically, a broad legato style is appropriate.<br />Were You ThereFred J. Allen<br />UIL Grade 4<br />
  107. 107. Widow’s PartyPercy A.Grainger/arr. Leroy Osmon<br />The Widow’s Party is a poem from Rudyard Kipling’s series titled Barrack-Room Ballads and is Grainger’s Kipling Setting #7. It is important to note that the “Widow” in the title refers to Queen Victoria (The Widow of Windsor) and the “Party” is one of many frontier wars in India.<br />Widow’s Party<br />UIL Grade 4<br />
  108. 108. AuroraAwakesJohn Mackey<br />This piece is available as a RENTAL ONLY. Please contact John Mackey directly for rental information.<br />UIL Grade 5<br />
  109. 109. Dakota RhapsodyMark Camphouse<br />Celebrating the “Mount Rushmore State,” A Dakota Rhapsody depicts the expanse and grandeur of the American prairie. The inspirational beauty of the landscape and the pioneering spirit of the people who settled this area can be heard in the bold harmonies and sweeping melodies written by master composer Mark Camphouse.<br />UIL Grade 5<br />
  110. 110. Danzon #2Arturo Marquez/arr. Oliver Nickel<br />In its original orchestral form, Danzon #2 has enjoyed significant popularity on performance programs everywhere. The danzon, itself was Cuban-born, from a natural synthesis of Spanish, British, and French dance forms. The piece is built on a beautiful, elegant main theme, stated at the outset on clarinet. It preserves both the traditional rondo form and the tendency to begin in a state of restraint and erupt into passionate rhythms later.<br />UIL Grade 5<br />
  111. 111. Euphoria in its development reflects those rare moments where one is totally immersed in the unabashed vibrancy of life. The swirling textures and rhythmic interplay of the score reveal a state of being unencumbered by lingering everyday concerns; a state of embracing the carefree wonder of living, so common in our youth, where all things are possible. This original composition for mature bands was the 2nd Prize Winner in the 2nd International Frank Ticheli Composition Contest for Winds.<br />EuphoriaJohn Frantzen<br />UIL Grade 5<br />
  112. 112. FireflyRyan George<br />This piece is available as a RENTAL ONLY. Please contact FornineMusic directly for rental information.<br />UIL Grade 5<br />
  113. 113. La CenerentolaGioachino Rossini/arr. Larry Daehn<br />A jaunty 6/8 hunting horn fanfare launches this piece into a whirlwind of Italian fun. Based on happy melodies from Rossini’s story of Cinderella. Filled with rhythmic verve, rapid-fire motion and the famed Rossini crescendo!<br />La Cenerentola<br />UIL Grade 5<br />
  114. 114. LollapaloozaJohn Adams/ arr. John Spinazzola<br />The exuberant orchestral work by composer John Adams, based on the rhythm of the word “lollapalooza,” now available in this transcription for wind band. Bursting with rhythmic motives and jazz-inspired tonality, this bouncing, lively piece is full of energy and excitement.<br />UIL Grade 5<br />
  115. 115. Prelude & Fugue in E-Flat BWV 552Johann Sebastien Bach/arr. Donald Hunsberger<br />Drawn from the third volume of Bach’s Clavierubunh, Prelude and Fugue in E-Flat cultivates the rich textures and harmonies available in today’s contemporary wind band and more closely replicates Bach’s original compositional intent, since the work was initially intended as practice opportunities for keyboard players.<br />UIL Grade 5<br />
  116. 116. San Antonio DancesFrank Ticheli<br />This piece, composed as a tribute to the south Texas city, certainly captures its essence. The first movement, depicting the serene Alamo Gardens, is sultry and peaceful, crescendoing with a hint of mariachi sound that then blossoms in the whimsical second movement, Tex-Mex on the Riverwalk.<br />UIL Grade 5<br />
  117. 117. StampedeSteven Bryant<br />Not available through retailers. Contact Steven Bryant directly for information.<br />UIL Grade 5<br />
  118. 118. Suite DreamsSteven Bryant<br />For the second year in a row, composer Steven Bryant took home top prize in the prestigious NBA/Revelli Composition Contest. The winner for 2008, Suite Dreams, draws primarily from the inverted chaconne melody in Holst’s First Suite in E-Flat, recasting it in a dreamlike atmosphere, almost as if (sometimes warped) memories of the original are drifting across the stage.<br />UIL Grade 5<br />
  119. 119. Symphonic Dance #1Edvard Grieg/arr.Chalon L. Ragsdale<br />The immense popularity of Edvard Grieg’s Peer Gynt Suites and the Piano Concerto have overshadowed some of his other fine compositions for orchestra and larger forms. The Symphonic Dances were written in 1896-98 during Grieg’s mature period. They deserve a more prominent place in the standard repertoire. In them, Grieg makes excellent use of dance rhythms, folk tunes, and expressive lyricism. This arrangement was premiered by the University of Arkansas Symphonic Band under the direction of Timothy W. Gunter in May of 2005. It is dedicated to the Symphonic Band and Mr. Gunter.<br />Symphonic Dance #1<br />UIL Grade 5<br />
  120. 120. Symphonie FantastiqueMerlin Patterson<br />Not available through retailers. Contact Merlin Patterson directly for information.<br />UIL Grade 5<br />
  121. 121. Written in 2001 for orchestra, and commissioned by the University of Miami School of Music. Its premier performance was on the closing night of Festival Miami, on October 25, 2001, by conductor Thomas Sleeper and the University of Miami Symphony Orchestra. Symphony No. 1 is comprised of four movements: Of Youth, Of Wisdom, Profanation, and Prayer. According to Ticheli, this piece represents a journey of a soul – from innocence, to introspection, to darkness, and finally to enlightenment. <br />NOTE: Digital Parts Only Available (Score available separately. See #23368501). Digital parts are emailed directly to customer. Only available using Microsoft Windows. File must be used within 30 days of email date. Allows you to print all instrumental parts from separate files. Parts imprinted with name of your band, city and state. There is a free software download to view and print. Purchase of digital files includes license to print all parts in quantities shown on Instrumentation page of score. Information that is required with your order: Name of band director, email address of band director, name of school or organization, and city and state of school or organization.<br />Symphony #1 (Digital Edition)Frank Ticheli/arr. Gary D. Greene<br />UIL Grade 5<br />
  122. 122. Symphony #6:Third Movement FinalePyotr Ilyich Tchaikovsky/arr. Larry Daehn<br />Tchaikovsky’s beloved march comes bounding up from the pages of this excellent transcription. Sweeping woodwinds and powerful brass create a real adventure for players and audience.<br />Symphony #6:<br />Third Mvmt Finale<br />UIL Grade 5<br />
  123. 123. Triumphal OdeHoward Hanson/arr. James Ripley<br />Triumpal Ode is a recently discovered and formerly unpublished Howard Hanson band piece. Editor James Ripley came upon it during his research at the Eastman School of Music. It appears to have been written in 1918 and therefore would be considered one of the earlier wind band pieces by an American composer. A historically significant and musically interesting piece from Hanson’s early career, TriumpalOde is typical of his neo-romanticsensibilities, and is a significant addition to the band repertoire.<br />UIL Grade 5<br />
  124. 124. Turbo ScramjetWilliam Pitts<br />This piece is available as a RENTAL ONLY. Please contact William Pitts Music directly for rental information.<br />UIL Grade 5<br />